Insufficient Instant
Mirrors and metal
91 x 91 x 91 cm (approx.)
36 x 36 x 36 in (approx.)
Edition of 3
Toronto, 2016
Designed to be able to stand from different positions the sculpture "Insufficient Instant" was done during a residency at the Drake Devonshire at Prince Edwards County, near Toronto. Invited back by curator Mia Nielson after creating the installation "Daphne's Eyes" in April, this time Prado's sculpture traveled to different spots on the shore of the Lake Ontario and was photographed at them in different hours of the day. Testing the system's capacity to respond and react to multiple contexts while maintaining the same initial, although flexible, format
Mirrors and metal
91 x 91 x 91 cm (approx.)
36 x 36 x 36 in (approx.)
Edition of 3
Toronto, 2016
Designed to be able to stand from different positions the sculpture "Insufficient Instant" was done during a residency at the Drake Devonshire at Prince Edwards County, near Toronto. Invited back by curator Mia Nielson after creating the installation "Daphne's Eyes" in April, this time Prado's sculpture traveled to different spots on the shore of the Lake Ontario and was photographed at them in different hours of the day. Testing the system's capacity to respond and react to multiple contexts while maintaining the same initial, although flexible, format
Measure of Dispersion (2014-ongoing) is a series of sculptural installations that aim to amplify and manipulate the spectator’s field of vision. Made from concave and convex mirrors of many sizes that Prado attaches to industrial metal structures, the sculptures create something akin to an anti-camera that reconfigures the viewer’s vantage point and amplifies notions of (dis)location.
Rather than capturing a specific moment like a camera, the mirrors reflect a fragmented body seen from uncontrollable angles and different points in space simultaneously. The resulting viewer experience is a challenge to the impulse to project preconceived assumptions onto what we see: we are made to test our sense of familiarity with our surroundings and, more importantly, with ourselves.
Rather than capturing a specific moment like a camera, the mirrors reflect a fragmented body seen from uncontrollable angles and different points in space simultaneously. The resulting viewer experience is a challenge to the impulse to project preconceived assumptions onto what we see: we are made to test our sense of familiarity with our surroundings and, more importantly, with ourselves.
